4:3 2k for the look of it Arri Alexan and FCP

On a project I'm working on (I'm the 1st AC) we're going to shoot with the alexa in 4:3.
Just for the look of it. We're using the Arri Alexa.

I'm sure people will start ask me questions about the post-production workflow.
How does the 2k 4:3-files work in fcp? What would be a good proxy format?
If we use timecode to synk sound and video is it possible to burn the timecode in to the proxies while converting the files in an easy way?

I was planning to make proxies in 422 LT or 422 Proxy. I hear our post-production supervisor had said something about making the proxies in PAL. We're shooting square no anamorphic this time.
I think he wants it that way cause there is no 4:3 aspect ratio for HD what I know..

What I know Mpeg streamclip kills timecode so one can't use the timecode to synk in FCP. If I burn it in I will only see it but can't really use it for synk. It would also be nice if a lut could be applied at the same time :)

[viking jonsson]"I was planning to make proxies in 422 LT or 422 Proxy"
That's what I'd do.

[viking jonsson]"our post-production supervisor had said something about making the proxies in PAL"
Definitely NOT what I'd do. Working in SD, especially non-square pixels, is setting yourself up for a painstakingly fiddly online process. Keep things in HD, the file sizes of ProRes Proxy will be small enough for anyone to handle.

[viking jonsson]"Mpeg streamclip kills timecode so one can't use the timecode to synk in FCP"

Absolutely right. Don't use MPEG Streamclip for your conversions unless you fancy a lot of fiddly re-inserting of timecode tracks. I would suggest that you use Davinci Resolve Lite to run your conversions. It's fast and free, plus you an add simple grades to everything if needed. It is essentially the modern equivalent of a telecine only much cheaper!

[viking jonsson]"Will it be black borders on the sides of the video then?"
Yes.

[viking jonsson]"Why is it going to be a problem if we go with PAL proxies?"

I can see where your post supervisor is coming from given that you're shooting 4:3 but if it were me I'd still prefer to stay away from SD. Just too many fiddly issues with pixel aspect ratios, plus with HD you've at least got lots more resolution even though you're not using the full 16:9 frame.

I'm curious, did you shoot 4:3 because the director/DP simply preferred the look for this project, or are there plans to eventually crop the frame to some form of widescreen?

[viking jonsson]"Could You tell me why the pal proxies would be a problem in more technical terms so I can talk with the post-sup about this.
"

It's not that PAL is a problem as such, but basically because PAL is not based on square pixels in 4:3 or 16:9, there's slight issue introduced if you need to create graphics or do any rough VFX during the offline, because when you then go to online, the pixel aspect ratio will not match up and you can end up having to re-scale your effects/graphics. Plus with HD you have the benefit of it being HD for the offline, i.e. better resolution. That's never a bad thing, and offlining in HD is perfectly normal.

[viking jonsson]"Could You tell me what Your workflow would have been for this step-by-step?"

Just to clarify, am I correct in assuming that you're shooting ARRIRAW - you must be if you're recording 4:3 at 2K, right? If so why not record HD ProRes422 Proxy files onto SxS at the same time? That way there's no transcoding for your offline, all your timecode matches up and it'll work perfectly in FCP.